Sentences with phrase «american urban culture»

Not exact matches

Anyone who reads The Catholic Ethic and the Spirit of Capitalism, however, must recognize that, far from being uncritical, Novak evinces an intense and well - informed sense about where the American experiment has gone wrong and is going wrong» from race relations, to the urban underclass, to crime, and the debasement of popular culture.

As Todd Brenneman argues in his recent book, Homespun Gospel: The Triumph of Sentimentality in Contemporary American Evangelicalism, sentimentality may be a defining characteristic of religious life for many Americans, and so most readers in the dominant Evangelical culture, outside a few hip and urban churches, are more likely to encounter the treacly poetry of Ruth Bell Graham than the spiritually searing work of R. S. Thomas or T. S. Eliot.

For some Wesleyans today the greatest challenge confronting the church is to respond to the diversity of cultures and ethnicities that now characterize urban American society.

Properly speaking, we should frame the question as «the culture of Christianity,» e.g. urban American Catholicism, «and other cultures.»

Deep in America's Heartland, Oklahoma City is an exciting mix of cowboy culture, Native American ancestry, and urban innovation.

Urban Crush's co-founder and CBDO, Natasha Nova told The Source: «Urban Crush celebrates African - American culture and identity, and we want to become a partner on this path toward helping others find true love.

Wolfen is not a werewolf movie by strict definition but it delves into American Indian lore involving shapeshifters and ancient animal spirits as well as urban legends of an underground culture of wolves who hunt in the cities.

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Facing History resources are used in semester - long courses that focus on such subjects as South African history, genocide, and urban American culture since the 1920s.

Just a block from glittering Biscayne Bay, Four Seasons Hotel Miami presents a sophisticated urban oasis at the crossroads of American, Latin American, and Caribbean cultures.

The disconnect between Sucker Punch lovingly referencing Seattle's architecture and urban culture while inventing a fictional Native American tribe is profound.

Select Group Exhibitions 2017 Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly, Bemis Center for Contemporary Art, Omaha, NE 2017 Buffalo in the American Living Room, Plains Art Museum, Fargo, ND 2017 All That Glitters, work on display in contemporary galleries at St. Louis Art Museum 2017 Now is the Time: Investigating Native Histories and Visions of the Future, IAIA Museum of Contemporary Native Arts, Santa Fe, NM 2016 Culture Shift, Art Mür, Montreal, Canada 2016 From the Belly of Our Being: art by and about Native creation, Oklahoma State University Museum of Art, Stillwater, OK 2016 Back Where They Came From, Sherry Leedy Contemporary, Kansas City, MO 2016 - 15 Woven Together, Regional Studies Museum Yekaterinburg, Orenburg Museum, Surgut Museum, Chelyabinsk State Regional Studies Museum, Izhevsk Municipal Exhibition Center Gallery, Glazov, Udmurt Republic, Yamal - Nenets Museum and Exhibition Center Salekhard, Orenburg Oblast, Russia 2015 Arriving at Fresh Water, Minneapolis Institute of Arts, Minneapolis, MN, Plains Art Museum, Fargo, ND 2015 superusted: the 4th Midwest Biennial, Soap Factory, Minnneapolis, MN, Urban Institute for Contemporary Art, Grand Rapids, MI 2014 Minnesota Biennial, Minnesota Museum of American Art, Minneapolis, MN 2014 McKnight Visual Artists Fellowship Exhibition, Minneapolis College of Art and Design, Minneapolis, MN 2013 Air, Land, Seed, 516 Arts, Albuquerque, NM and University of Venice, Ca» Foscari, Italy 2013 Dyani White Hawk and Philip Vigil, Shiprock Santa Fe Gallery, Santa Fe, NM 2012 Encoded, Tweed Museum of Art, Duluth, MN 2011 Soul Sister: Reimagining Kateri Tekakwitha, Museum of Contemporary Native Arts, Santa Fe, NM 2008 Playing, Remembering, Making: Art in Native Women's Lives, Museum of Indian Arts and Culture with School for Advanced Research Santa Fe, NM 2007 War Paint, Institute of American Indian Arts Museum, Santa Fe, NM

Ballroom Marfa is proud to announced its first group exhibition devoted to emerging artists whose work is informed by their experience of urban and suburban life in contemporary American culture.

Inspired by American Abstract Expressionism, popular culture, and urban modernity, they recognised abstraction as their only conceivable route.

Jorge Rodríguez - Gerada is a Cuban American urban artist and a founder of the New York Culture Jamming movement.

A humanitarian with a deep commitment to social justice, he left behind a body of work that documents many of the most important aspects of American culture from the early 1940s up until his death in 2006, with a focus on race relations, poverty, civil rights, and urban life.

The imagery seen here — for example, animals, athletes, the urban landscape of New York, and various emblems of American culture — takes up many of the central themes that recur throughout his art.

Tarek Abou El Fetouh (curator) John Akomfrah (artist and filmmaker) Rheim Alkadhi (artist) Noora Al Mualla (Curator of Modern Arab Art, Sharjah Art Foundation) Monira Al Qadiri (artist) Hoor Al Qasimi (Director, Sharjah Art Foundation) Saira Ansari (Researcher, Sharjah Art Foundation) Rasheed Araeen (artist) Marwa Arsanios (artist) Mohammad Ali Atassi (Director, Bidayyat) Sarnath Banerjee (artist, writer and graphic novelist) Daniel Blanga Gubbay (Researcher and Curator, Aleppo.eu) Yaminay Chaudhri (artist and Co-founder, Tentative Collective) Ali Cherri (artist) Manuel de Rivero (Co-founder, Supersudaca) Manthia Diawara (University Professor and Director, Institute of African American Affairs, New York University) Mona El Mousfy (Founder and Managing Director, SpaceContinuum) Shilpa Gupta (artist) Ayesha Hameed (artist and Lecturer, Visual Cultures, Goldsmiths College) Dale Harding (artist) Salah Hassan (Goldwin Smith Professor and Director, Institute for Comparative Modernities, Cornell University) Mohamed Ahmed Ibrahim (artist) Saba Innab (artist and architect) Eungie Joo (Curator of Contemporary Art, San Francisco Museum of Modern Art) Butheina Kazim (Co-founder, Cinema Akil) Maha Maamoun (artist) Ahmed Mater (artist) Almagul Menlibayeva (artist) Sally Mizrachi (Co-founder, lugar a dudas) Naeem Mohaiemen (artist) Paribartana Mohanty (artist) Aram Moshayedi (Curator, Hammer Museum) Hania Mroué (Founder and Director, Metropolis Art Cinema) Neo Muyanga (composer and musician) Zeynep Öz (curator) Claudia Pagès (artist) Sharmini Pereira (Founder and Director, Raking Leaves) Filipa Ramos (Co-curator, Vdrome) Uzma Rizvi (Associate Professor, Anthropology and Urban Studies, Pratt Institute) Abir Saksouk (Architect, Public Works) Larissa Sansour (artist) Mario Santanilla (artist) Zineb Sedira (artist) Wael Shawky (artist) Reem Shilleh (Co-founder, Subversive Film) Martine Syms (artist) Yoshiharu Tsukamoto (Co-founder, Atelier Bow - Wow) Alper Turan (Co-founder, DAS Art Project) Deepak Unnikrishnan (writer) Antonio Vega Macotela (artist) Hajra Waheed (artist) Ala Younis (artist and curator)

As a Bay Area native and long - term Southern California resident, Colony covers emerging contemporary art in California, the aesthetic of urban culture, and is a champion of African American art and media.

A virtual Rorschach test for American culture during the better part of the last century, Wyeth split public opinion as vigorously as, and probably even more so than, any other American painter including the other modern Andy, Warhol, whose milieu was as urban as Wyeth's was rural.

Cheng's feelings as an outsider to New York and American culture at large play out upon its physical edge, where the experience of urban and cultural alienation are described via landscapes of post-industrial abandon.

Erin holds a bachelor's degree in Liberal Studies from St. Edward's University, in Austin, TX, and a master's degree in American Culture Studies from Bowling Green State University in Bowling Green, Ohio, where she wrote about intersections of gender, contemporary art, and urban space.

Urban myth or» absolute truth» the backdrop to these apocryphal stories is contemporary American culture.

«The Black Metropolis, between Past and Future: Race, Urban Planning and African - American Culture in Chicago,» University of Chicago Center in Paris, France, November 18, 2017

Ruby has cited a diverse range of sources and influences including aberrant psychologies, urban gangs and graffiti, hip - hop culture, craft, masculinity, violence, public art and civic monuments, prisons, globalization, American domination and decline, waste and consumption.

He is interested in forms of urban commercial culture and has written on New York City's culture and politics in the first half of the 19th century and part of The Cambridge History of the American Theatre.

Centerfolds, cartoon creatures, commercial facades and strange street characters populate my work, reflecting Mexican culture's condition of colonization and its customization of American icons; all with the purpose of conveying a personal baroque narrative that resembles an abstract urban, chaotic sediment reminiscent of Tijuana, Mexico, the city I come from.»

A master storyteller, Marshall weaves the political, urban, suburban, and African - American history into ordinary narratives that are meant to upend popular perceptions of black culture as impoverished, violent or outraged and directly challenge conventional ideals of beauty.

Together with Claes Oldenburg, Edward Ruscha and the late Andy Warhol, Lichtenstein ranked among the most important American artists to explore the vernacular culture of mass - produced consumer goods and popular urban life.

«By that I mean the treks and explorations I take through urban street culture, music, cinema, Native American art and the American West.

In a different way to the idealised scenes of Sean Keating, Charles Lamb was one of the first painters to paint a type of heroic Western peasant, thus marking the difference both between the rural and the urban, and between Irish culture and one with English, European and American influence.

Exploiting the creative potential of free association and past experience, he created deeply personal, often autobiographical, images by drawing liberally from such disparate fields as urban street culture, music, poetry, Christian iconography, African - American and Aztec cultural histories and a broad range of art historical sources.

Tagged as: American culture, Anthony Watts, Bill Nierenberg, California, climate disruption, ClimaTweet, David Lister, global warming, Greenland, history of climate change science, innovation, Jason, Jule Charney, National Academy of Sciences, plague, Reagon, SB375, sea level rise, urban heat island